The Hot Fives & Sevens [JSP] [Box]
Average Customer Review:
Audio CD (26 October, 1999)
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Editorial Review

Between 1925 and 1929, Louis Armstrong created one of the first great bodies of work in jazz. While he worked regularly as a soloist with big bands, he began his career as a leader with the first all-star studio group in jazz, the Hot Five. The other four musicians were Armstrong's wife, Lil Hardin Armstrong, on piano; Johnny Dodds on clarinet; Kid Ory on trombone; and Johnny St. Cyr on banjo. The music's first great soloist, Armstrong was reshaping jazz by sheer improvisational magic, gradually diminishing the role of the traditional New Orleans ensemble with the clarion brilliance of his trumpet. Possessing an uncanny blend of exuberance and creativity, he combined virtuosic declarations with a talent for the subtlest shifts in phrasing and melodic variation, creating rich emotional statements that could hint at loss in the midst of joy or the promise of better things in the most sorrowful blues. The band expands here, to the Hot Seven and larger ensembles, and it gains soloists who applied Armstrong's lessons to their own instruments--musicians such as pianist Earl Hines and trombonist Jack Teagarden--but all come under the imprint of Armstrong's flowering genius, as both trumpeter and singer.

It's almost impossible to overrate this material. It may be the most influential music in jazz history, establishing standards for originality and sustained invention that have rarely been matched. The JSP set is a superb reissue of Armstrong's essential work. The remastering is by John R.T. Davies, widely acknowledged as the dean of engineers in the field of early jazz, and the resultant sound is simply the best this work has ever enjoyed. There are alternate takes of the later material on Columbia Legacy (including Louis in New York and St. Louis Blues), so collectors will want both. But this recording is superior listening, at a price that also makes it an ideal introduction to one of the few titans of jazz. --Stuart Broomer ... Read more

Features

• Box set

Reviews (40)

Leaves me cold
I love twenties and thirties music and have a large collection of it. While I know that Louis Armstong is very important to the history of jazz, there is very little of his music that I enjoy. I recognize the technical virtuosity and the improvisational inventiveness. I can hear how tight these two groups were - they really became an organic whole, a unit with one mind performing several instruments. I like "Potato Head Blues." I find myself skipping through most of the other pieces, however. It could be the very strong New Orleans style that rules here. I prefer my twenties jazz sweetened up with the melody prominent, not simply a starting point for improvisation and jamming. Much of New Orleans Jazz wears on me the way those twenty minute guitar or bass or drum solos from the late sixties wore on me. Yes, I can hear that you can do incredible things with your instrument. Fine. You have my admiration, but not my love. This album is not going to be played every month (or year) the way my Six Jumping Jacks albums are played. Sure, Armstrong and his bands are the better musicians but the SJJ's have my love the way that The Kingsmen's version of "Louie, Louie," is my favorite version of that song. I'm glad I have this but it won't get played much.

THREE CHEARS FOR THE BOOTLEGGERS!! HIP HIP HOORAY!!!
Do you believe this guy below?

This is far superior sounding and budgeted than the Columbia issue of these recordings. I know, I own the Columbia versions. Let's hear it for JSP who have given us a reasonably priced alternative to the greedy SONY Company. Armstrong is long gone and I doubt his estate gets anything in the way of reasonable royalties from these greedy record companies. They take all the profit. And their profit is probably 500 to 900 %. It probably costs them 80 cents to put out a single CD, but they charge, on average almost 12 to 20 dollars for that single music CD. I bet a shiny new penny goes to the artist. If the record companies weren't so greedy maybe JSP and PROPER wouldn't need to spend time cleaning up this old material and putting out their great product. Let it be a lesson to these corporate jerks. Think of the fans and maybe Import Companies will stop making and selling these great compilations. I would image that all of this material is public domain by now, anyway. I'm surprised they're not knocking on people's doors with their hands out everytime someone sings Happy Birthday To You. I know they charge TV Producers for that little pleasure. Boo Hoo, Jeff Jones. I'm crying in my beer for the poor record companies. Music fans have probably payed the mortgage on your house three times over, my friend. And Armstrong was probably strong-armed (no pun intended) into signing over the publishing rights to his music long ago. That's the way they treated artists in Armstrong's day and his estate probably gets zilch!! So get over it!! Man, the audacity!!

I'll tell you what. Why don't you give us the name and address of Satchmo's estate and I'll send them a couple of bucks for buying this. I've saved more than that by buying from JSP and I'm sure it's more than SONY would give them.

By the way, this is a stunning remaster of Armstrong's Hot Five and Hot Seven Legacy. BUY THIS NOW!!

Also check out JSP's Django Reinhardt Box Sets. Both are also reasonably priced and stunningly remastered.

I hope JSP and PROPER are getting rich from their generosity. I know I'm feeding their kitty. Thanks guys!! Keep up the great work!!

ENJOY.

This record is a BOOTLEG - Do Not Buy it.
I work for Columbia Records / Legacy Recordings and I know that this company whoever they are has no right to be selling this set in the US. Perhaps it is an import.In Europe this classic material is Public Domain. No royalties are being paid to the artist estate.
While the price is right, the artist and record company is being ripped off. ... Read more

Asin: B00001ZWLP
Subjects:  1. Box Sets (Audio Only)    2. Classic Jazz    3. Dixieland    4. Jazz    5. New Orleans Jazz    6. Pop   

Yardbird Suite: The Ultimate Charlie Parker
Average Customer Review:
Audio CD (18 March, 1997)
list price: $31.98
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Editorial Review

This two-CD set is an ideal introduction to the music of Charlie Parker and the bop revolution. Its 38 tracks are culled from several labels, including Savoy and Dial, with many of them recorded between 1946 and 1949, the altoist's most creative period and the years in which he was reshaping jazz. This is music of luminous vitality--whether rapid-fire and manic, witty or tender. Musical ideas and feelings spun from Parker's horn with divine ease, every newly minted phrase drenched in meaning. Parker was changing the way the best young musicians played--whether saxophonists, pianists, or drummers--and it's apparent here in the supporting work of Miles Davis, Max Roach, Bud Powell, and a host of others. --Stuart Broomer ... Read more

Reviews (23)

Be careful!
Ok..I bought this compilation because it had all of the bird & diz tracks that I liked and needed. Has most of his good stuff on verve as well. My MAIN reason for picking this one up, was for 'A night in tunisia' and some of the other Dial tracks, only to find out that the licensing for the Dial recordings were unavailable at the time they made this compilation, so they were replaced with bootleg "live" poor quality versions of these tracks.

To be fair, This would make a good gift for someone who just wants a taste.

Excellent
Bird was a true prodigy, as were many of his bandmates. This album is a very good cross section of some of his best tunes. The Gillespie tune "Groovin' High" is always a good pick-me-up. Even the sadder sounding songs are delightful in their own way. It is hard to stay in a bad mood when these tunes are playing. The sheer skill of these musicians is truly remarkable.

Good, But not Great
If you don't have alot of cash to spend, this album shows alot of Bird's best tunes from Savoy and Dial. If you've got like $30 to spend, or you don't have any parker and you want to try him hou, then get this and bird's best bop on vereve for most of his best work. (Although I cringe when I hear bird with strings) However, if you have more cash to spend, Get the complete Savoy and Dial master takes (It's like $40) and the complete verve master takes (another $40) With these, you'll have all the best bird, and also all the songs on the famed Omnibook. (Except that dang anthropolgy, anyone know where to get that one?) If you need to just get one, get the Savoy. I, like alot of other people I know, like his dial and savoy output much better. ... Read more

Asin: B0000033PW
Subjects:  1. Jazz    2. Pop   

Kind of Blue
Average Customer Review:
Audio CD (25 March, 1997)
list price: $11.98 -- our price: $7.99
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Editorial Review

This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed ... Read more

Features

• Original recording remastered

Reviews (536)

The Rembrandt of Music
This isn't just the greatest jazz music of all time, it just may be the best music ever recorded of any genre.Period.

Absolute Perfection!
This is quite simply one of the best jazz albums ever created. Over the years I have collected several hundred albums by all different artists. I have a particular affection for trumpet, and especially for Miles.

This album was the first ever given to me, and is the gold standard by which all other music I have ever heard or owned is judged. My collection started with this and since has turned into a runaway train.

If I had to give up the rest of my music, I could survive for eternity with this album. There is nothing more to say, just listen.

If you could only own one album for the rest of your life
If I was limited to five albums on a desert island, I would also take along "Dark Side of the Moon" by Pink Floyd, "Siamese Dream," by the Smashing Pumpkins, "Revolver," by the Beatles, "A Love Supreme," by John Coltrane, and "Strangeways, Here We Come," by The Smiths, but if I could only take one, it would be "Kind of Blue."

Simply put, "Kind of Blue" is the best record ever made, by any artist, in any genre of music, ever.It will survive any amount of playing; it is impossible to tire of this wonderful album.It is unlikely it will ever be surpassed. ... Read more

Asin: B000002ADT
Subjects:  1. Hard Bop    2. Jazz    3. Modal Music    4. Pop    5. Trumpet    6. United States of America   

A Love Supreme
Average Customer Review:
Audio CD (20 June, 1995)
list price: $17.98
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Editorial Review

A Love Supreme is a suite about redemption, a work of pure spirit and song, that encapsulates all the struggles and aspirations of the 1960s. Following hard on the heels of the lyrical, swinging Crescent, A Love Supreme heralded Coltrane's search for spiritual and musical freedom, as expressed through polyrhythms, modalities, and purely vertical forms that seemed strange to some jazz purists, but which captivated more adventurous listeners (and rock fellow travelers such as the Jimi Hendrix Experience, Cream, and the Byrds), while initiating a series of volatile, unruly prayer offerings, including Kulu Su Mama, Ascension, Om, Meditations, Expression, Interstellar Space. From the urgent speech-like timbre of his tenor, to the serpentine textures and earthy groove of Elvin Jones's drumming, Coltrane's suite proceeds with escalating intensity, conveying a hard-fought wisdom and a beckoning serenity in the prayer-like drones of "Psalm," where Jones rolls and rumbles like thunder as Garrison and Tyner toll away suggestively--all the while Coltrane searches for that one climactic note worthy of the love he wants to share.--Chip Stern ... Read more

Features

• Original recording remastered

Reviews (134)

masterpiece
For those that get this album it is nothing short of a masterpiece. For those that don't it is just noise. I recommend giving this album a listen before buying it, but for those that have a hard time getting into this album I recommend multiple listenings over a fairly extended period of time. Try listening to it 4 or 5 times with in a couple of weeks time span. I've actually known people who at first thought this album was awful, but after a while their ears just opened up to it.

To the reviewer who said:

"Art reaches out, speaks to the universal, appeals to the heart. Jazz excludes, speaks in code, demands analysis. I prefer art."

I think that it is pretty ironic that you criticized this particular album in this manner. Essentially this album was Coltrane's attempt to reach out, speak to the Universal, and appealing to the heart. If you missed that you missed the entire point. I'll admit this is an album some people are going to love and others are going to hate, but Coltrane's purpose is undeniable. Also your claim that jazz isn't art is laughable.

First on my list of favourites
I resort many times to this record when I really want to get carried away with music. For me this record is medicine. So Coltrane, Tyner, Jones and Garrison are here like a group oftherapists so to speak.
This one is truly unique. Never listened to something even similar and don't want to. Because "A love supreme" is just perfect. I have other Coltrane works like "Giant Steps" or "Blue Train" but these ones don't mean much to me. And I even don't like much John's way of playing: too many notes in such a little time space. Many times they don't tell me anything. And it is the same reaction that I get sometimes from Bird. "Ok, you're a virtuoso. Congratulations!. So what?".
But this record was really his cornerstone for me. He was in a different approach. He meant something to me in every note he blew from his sax. He really got into something. And he's here with the great McCoy Tyner. With his piano helps Elvin Jones to create a mystic atmosphere where you can feel they are in some kind of spiritual voyage. And everything is a wonder.
So if you are one like me who's not very fond of Coltrane, it doesn't matter at all. This is a must have. Who told you that "Kind of Blue" was the all-time best?. It is "a love supreme". It is about pure inspiration from four geniuses of Music. It'll change you. For good!.

Still supreme after all these years.
It's a testament to John Coltrane's artistic vision that a piece of uncomprimising music such as a 'A Love Supreme' can be heard for the universalism it stands for. Recorded in a studio in New Jersey in late 1964, Coltrane had spent a week alone in a room in his house away from his wife and children. During that time of contemplation and isolation, he put pen to paper to bare his soul to God and the essence of 'A Love Supreme' was born. I don't think it was a coincedence that at the time this album was recorded in the mid-60's, a new philosophy of spirituality and peace & love began to prevade popular music in general. The Church of St. John Coltrane still resides in that bastion of hippiedom, San Francisco.

The music on the album itself is powerful not just for Coltrane's playing itself but also for the fanatical interplay of the quartet. 'Acknowledgement' opens with Garrison's passionate bass line, leading into Coltrane's dynamic and ingenious playing, the quartet's spirited performance like a fervant, untamed emotion that has gripped them all. 'Resolution' blazes from the record with Tyler burnishing the track with some brilliant playing of his own. Jones's frantic drumming comes to the fore on the opening of 'Pursuance', a track where the meaning of 'Chasin' The Trane' becomes self-evident as Garrison, Tyler and Jones follow in hot pursuit of their leader's furious joy. Tyler's playing is again compelling as the quartet trade notes with such alarming velocity before Garrison's bass tip-toes and leads us like the pied-piper to the concluding 'Psalm'.

It's refreshing in this day and age to hear an artist whose sincerity and integrity shines through his work. ... Read more

Asin: B000003N7G
Subjects:  1. Jazz    2. Pop   

Ellington At Newport 1956
Average Customer Review:
Audio CD (11 May, 1999)
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Editorial Review

When Duke Ellington took his orchestra to the Newport Jazz Festival in 1956, the band was in need of an uplift, some humongous event that would revitalize its image in the wake of bebop, hard bop, and so many more jazz currents. Ellington got the lift he needed when he called "Diminuendo in Blue" with set-closer "Crescendo in Blue" tacked on the end. Tenor saxophonist Paul Gonsalves got the nod from Ellington to segue from "Diminuendo" to "Crescendo," and he blew doors. With one rousing 27-chorus solo, Gonsalves blew a fever into the crowd and jump-started Ellingtonia for another generation. Trouble with all this is that the living document of the Newport show is almost fully manufactured, recorded in a studio with crowd madness dubbed in. So this two-CD historical correction is an awesome addition to the centennial-era reissues on Columbia (including Anatomy of a Murder, Such Sweet Thunder, First Time: Count Meets the Duke, and Black, Brown and Beige). The producers revisited the Newport gig after four decades because they discovered an extant Voice of America tape--the one whose microphone Gonsalves blew his solo into, and the VOA tape catches the whole Newport set in its organic glory. Alternately tender with layers of brushstroke orchestration and blazing with the band's well-seasoned tightness, this new Newport is one for the generalist and the Ellington completist. It's got the revived original gig as well as the original commercial release. And they make great siblings, illustrative of the live-event charm and the music industry's dogged labors in reinventing it on record. --Andrew Bartlett ... Read more

Features

• Live

Reviews (42)

Duke and his men play to a "ugh" crowd, something happens
Newport Jazz Festival, 1956, a bunch of rich white folks, being in style go to a jazz festival. They obviously were very timid and unaware of Duke Ellington and his men, and they give some soft golf claps in the beginning while the announcer is announcing Duke and his men. The band then goes on to perform, a very dark and chilling version of "Black and Tan Fantasy" with Cat Anderson, Quinten Jackson, and Russel Procope giving great performances. Next follows a passive but nice version of "Tea for Two" played by Willie Cook in a Clifford Brown tone. Then the band goes on break for quite some time due the fact that key members are missing and have not showed up yet. Then we go on to Billy Stayhorn's "Take The A Train", then the first main course, "The Newport Jazz Festival Suite". This was not completly finished by Ellington/Strayhorn as it was played this night. And it is played with passion, even if it is not perfect. Some great soloist strutt thier stuff- Jimmy Hamilton, Clark Terry, Ray Nance, ect. Then the great baritone player, Harry Carney (who was with duke since the 20's) plays an decent rendition (He usually played this better) of "Sophistcated Lady", then a terrible vocal take by Josh Grisham on "Day In, Day Out". Next in the second main course, "Dimuendo and Crescendo in Blue", every that needs to be said about this has already been said. Then this crowd, this stiff and boring crowd get going. Screaming for more, Duke gives them his all time great soloist, Johnny Hodges. He plays beautifully on "I Got It Bad" and "Jeep's Blues". The crowd is still getting more and more crazy, and after "Tulip and Turnip", Sam Woodyard solos on "Skip Deep" and bring them to the edge again. They end with a few bars of "Mood Indigo" with the crowd screaming for more. I understand that a near-riot seems like nothing in Rock - n Roll terms today. But these people aren't drunk and pointlessly unruly like rock fans (I been to concert were people are moshing and a band is still setting up, which proves that this Rock-n-Roll energy ain't nothing), these people were takin away by this music. As much as they wanted to be boring and hardly cheer, they couldn't help and had to scream. For one night, improvised music was appreciated

Riotous Assembly
'Ellington At Newport' turned out to be the best-selling album of the Duke's career largely due to the exceptional performances of the soloists on the album. But Ellington's compositions always gave great scope for improvisation by his band and it's his own enthusiasm and momentum that spurred the band on to great things that night.

On 'Black & Tan Fantasy' Cat Anderson's solo is a throwback to the era in which it was composed, while Willie Cook on 'Tea For Two' swings unstoppable. Ellington himself puts in some spirited piano playing at the beginning of 'Take The A Train' and 'Diminuendo and Crescendo in Blue'. 'Festival Junction' is an inspired name for the opening part of the festival suite as it builds and builds in its thumping and sophisticated way, much like the rest of the concert. Then a slight respite with Russell Procopej's lilting clarinet on 'Blues To Be There', before back to the frenetic pace of the earlier part with 'Newport Up'. Here the notes and tempo seem to crash and burn against each other in a manner more reminscent of bepop than swing.

The there's the effortless, breezy solo of Harry Carney on 'Sophisticated Lady' and try as he might, poor Jimmy Grisham's vocal on 'Day In, Day Out' just doesn't match the power and sincerity of the backing instrumentation.

On Paul Gonsalves performance of his career, the rest of the band aren't slow in egging him on to greater and greater heights through enthusiastic shouts and claps. This appreciative support seems oddly lacking in the other soloists performances. After the riotous greeting of this number, Ellington seems to use Johnny Hodges laid-back playing on 'I Got It Bad' and 'Jeep's Blues' as a way of quietening the crowd. Ray Nance does slightly better than Grisham's earlier performance, with his satchmo-singing on 'Tulip or Turnip' before Sam Woodyard whips the crowd into a frenzy again with his remarkable drum soloing on 'Skin Deep'.

His riot control complete, Ellingtion slips away under the auspicies of 'Mood Indigo'.

Excellent!!
After listening to the 'first' release of this wonderful Jazz collection, I thought it was one of the best albums in my collection.Then upon hearing Sony's version, I am pleased to say that this album has taken top spot.The 'correct' production of Diminuendo in Blue and Crescendo in Blue is much more enjoyable to listen to.The Duke can be heard more clearly in the background along with the others as Paul Gonsalves does his thing.
I am also pleased with the fast delivery from Amazon.They estimated the delivery to take over a week, it took just three days. ... Read more

Asin: B00000IMYA
Subjects:  1. Big Band    2. Classic Jazz    3. Jazz    4. Orchestral Jazz    5. Pop    6. Progressive Big Band    7. Swing    8. United States of America   

Lady Sings the Blues: The Billie Holiday Story, Vol.4
Average Customer Review:
Audio CD (21 March, 1995)
list price: $18.98 -- our price: $18.98
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Editorial Review

This CD includes material from two fine small-group sessions recorded in 1955 and '56, with arrangements provided by clarinetist Tony Scott and excellent support from trumpeter Charlie Shavers, tenorist Budd Johnson, and a young Kenny Burrell on guitar. The standards of the first session come alive with Holiday's ability to bring complex shadings to familiar material, while the later session includes some of her most personal and emotionally charged material. Her voice has a searing intensity on the late recording of "Strange Fruit," and there are powerful versions of "God Bless the Child" and "Lady Sings the Blues," songs written with Holiday's own lyrics. The CD concludes with an intimate view of Lady Day at work, a 15-minute rehearsal tape of her working through "God Bless the Child" with Scott at the piano. --Stuart Broomer ... Read more

Reviews (6)

Beleive it -- this album is a must for Billie fans.
I recently acquired this album and though it has the basic Billie repertoire I am really impressed by the arrangements and the new life Bilie is bringing to her old classics.Billie has come full circle in this album accompanied by great muscians -- it had me mesmerized.Billies' singing has lifted up my spirits and Idon't like to critic and hope this review will make the future buyer of this album experience what I experienced.The trumpet and the piano and the sax and Billie is the best.

Ah, the Verve years
Yes, this is a fantastic release, but my biggest complaint is the songs are not in the same order as the original release (cd or lp), so if you rearrange them to be in their proper order, it's fine, but why would they rearrange the tracks?A bad mistake, one which, in my opinion, keeps this from a 5 star rating.I'm of the opinion that Holiday's Verve (high) years were her best, and, of course, there are two camps in this 'argument' so we'll have to agree to disagree.The Verve years have always been, and always will be, my personal favorite.Nothing like this early in the morning with your favorite cup of java.

A Curiosity
I would have to take strong exception to the notion that Billie's late period is her best. She gets so much emotion out of a song that the added "drama" of her increasingly troubled life and waning pipes becomes, at best, superfluous and, at worst, a distraction. Nevertheless, this 1956 collection, one of Verve's "Desert Island Discs," has much to offer, particularly her singularly affecting interpretation of Dorothy Parker's "I Wished on the Moon" (taken at a slower tempo than on her other recordings and with the inclusion of the song's verse).

But at over 117 minutes (How did Verve pull that off? Aren't non-compressed CD's limited to 80 minutes?), the program begins to run out of steam.The "arrangements" are quickly-sketched heads by Tony Scott, whose clarinet becomes cloying and overly-busy at times (especially when he insists on improvising during Billie's singing). Tempos and voicings become pretty predictable, though there are some sparkling solos by pianist Billy Taylor as well as trumpeter Charlie Shavers.

The photos of Billie shot during the session capture a different side of her--neither the glamorous Lady Day of the past nor the mummified, cosmetic beauty of her "Lady in Satin" album but the hard, yet very "natural," look of a harried, tired school teacher who still, somehow, suggests that she means business.

The real kicker on this CD is the inclusion of the 15-minute rehearsal tape (made on a cheap home machine) of Scott and Billie going over (and over and over) "God Bless the Child" in search of a key and arrangement that the singer can assent to. What surprised me was Billie's strength and command. Even though the first key is a fifth above the one that is finally settled on, she executes the upper-register notes in the higher key with surprising ease and power. Moreover, she lays to rest the misconception (admittedly, shared by me) that her voice during this period was largely a whisper salvaged by the microphone. Not only does she project the song; she practically belts it! ... Read more

Asin: B0000046SJ
Subjects:  1. Jazz    2. Pop   

The Complete Decca Recordings
Average Customer Review:
Audio CD (17 March, 1992)
list price: $38.98 -- our price: $38.98
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Editorial Review

Ellington's band had more grace and sophistication, but no big band swung harder than the incomparable Basie band. Recorded between 1937 and 1939, these 63 classics feature a cornucopia of legendary musicians: Herschel Evans' big-toned, earthy tenor balances Lester Young's ethereal tenor. Harry "Sweets" Edison's soaring blares complement Buck Clayton's muted trumpet. Jimmy Rushing's nasal, booming operatics contrast with Helen Humes's precise elegance. The Freddie Green-Walter Page-Jo Jones rhythm section flawlessly anchors the driving 4/4 rhythm. And, of course, there's the leader's minimalist piano, using just the right, essential mix of boogie-woogie and stride. These three CDs are peppered with what would become jazz standards and should be a cornerstone of any music library. --Marc Greilsamer ... Read more

Features

• Box set

Reviews (10)

for all who have ears
If you have ears and do not have this set, something is wrong!

Basie's band is here fresh from Kansas City. Its approach is simple. The greatest rhythm section in the history of Jazz, Basie, Walter Page, Joe Jones, and (first Claude Williams followed by the classic) Freddie Green set the tempo, lightly to hardly swinging, the sections come in, and then the great soloists of this orchestra Buck Clayton, Herschel Evans, and the great Genius Lester Young come in to make some of the greatest performances in Jazz history.The tunes, particularly on the first CD are triumphs of the blues based "head arrangements" that were the stock in trade of Kansas City Jazz.

We aksi gave the magnificent singing and swinging of the incomparable Jimmy Rushing and later the singing of Helen Humes.During the first year or so of the Decca contract Billie Holiday was Basie's female singer.However, because she was already signed with Columbia-Brunswick she never recorded with the band. What a tragedy that we only have three air checks from radio of Billie with this band, none on this CD.

It should be noted that on the last set of recordings here after Herschel Evans died, the great Tenor man Chu Berry joined the band to later be replaced by Buddy Tate. The competition between Evans and Young was the stuff of legends, but the blowing battles that triumph between Berry and Young on Cherokee and Lady Be Good on the last CD here is as good as it gets in 1930s Jazz.

How can you choose between the tracks or selections with the smaller collections of Decca Basie do you select One o'clock Jump over Jumpin' at the Woodside, Texas Shuffle over Good Morning Blues, no you can't. There are a lot of gems here that aren't as widely known and do nto appear in smaller compilations.The most import are the many sides with only Basie's piano supported by the rest of the rhythm section. If you are serious about playing, jazz, blues, or swing or just music, particularly if you play a rhythm instrument, program these sides on your CD and try to play along. Just listening without playing is a real education in blues and swing.

The rhetoric is of course that later the band got to be more and more of an arranged band and less swinging than this. I don't agree with that at all. However, there is a gritty bluesy magic here that does tend to float away after they left Decca.

Of course, the sad history of these recordings is that Decca signed Basie to the three years of these recordings for 700 bucks before Basie got to New York and realized what the orchestra could mean.It took the union and lawyers John Hammond found to get Decca to pay the band members union scale for these classic sides. It's also evident if you compare the last of these Decca sides to the first Columbia sides that Decca wasn't as concerned with the recording quality of these records as Columbia.But that's life under capitalism, great art getting ripped off by big money.

There is simply no excuse for anyone with ears not to have this collection.The sides aren't just great art or necessary history, they are fun, they are moving, and they are going to put a song in your heart and a smile on your face!

Superb, and great sound.
This is an excellent recording, obviously mastered by some masterful recording engineers. My only wish is that I could've been in the recording studio or dance hall myself, but this is about the next best thing. Duke Ellington I adore and will forever, but this selection puts jazz band music in a whole different perspective. Smoke is coming out of my speakers. The whole house is shaking. The roof is buckling. Don't say you weren't warned!

Lively, humorous and energetic!
I recently suffered a loss of nearly 1/2 of my cd collection, and when I realized that this set wasn't stolen, I literally cried tears of joy!

I love jazz and swing and the blues and Basie et. al. know what they're doing, and go at it with zest and a sense of fun.Track 7 on Disc 2, "Mama don't want no peas 'n' rice 'n' cocnut oil", never fails to make me smile and often laugh.It's a great story, concept and song.If only for this track, the collection would be worthwhile.

The trick of it is, I'd easily give you a list of 50% of the songs that right off, you're likely to love and find essential to your quality of life.But then again, the other 50% give life balance.

The clarity of the recordings is a pleasure not just because of the absence of pops, clicks or hiss (some tracks have a wee bit, but compared to other period re-releases, this is about as good as it gets), but the recordings have a sense of a "clean, open" headspace, no bounce or reverb or other additions.It's very much as if you're listening to them in a studio or small, empty club.Just you and them and the music.Maybe a pack of smokes and a drink and your best guy/gal.

Close your eyes and smile! ... Read more

Asin: B000003N3G
Subjects:  1. Big Band    2. Big Band/Swing    3. Classic Jazz    4. Jazz    5. Pop    6. Swing   

The Complete RCA Victor Recordings: 1937-1949
Average Customer Review:
Audio CD (24 January, 1995)
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Editorial Review

These two Diz discs bookend two-years'-worth of late-'40s Gillespie orchestra recordings with some earlier Teddy Hill Orchestra and Lionel Hampton Orchestra sides. Actually, the '40s Gillespie-helmed recordings of "Manteca" and "Anthropology" begin the first disc, but that's kind of a sequencing quirk. Also included here are later Metronome All-Stars baubles. Here's a generous and savory taste of Gillespie ascending. --Steven Stolder ... Read more

Reviews (9)

Oop-Bob-Sh-BAM!!
From the first time I heard Dizzy's big band, on a now-defunct RCA Vintage LP ("The Bebop Era"), I was hooked...then I found out that my father had heard the band for FREE when he worked at the Metropole in NYC on 52nd Street...and HATED it because Dizzy didn't play like Sammy Kaye (his favorite band)!!How I envied and disliked him for that!!

These innovative Gil Fuller arrangements, in which the entire trumpet section swung like five Dizzies, are simply staggering.The music swirls and eddies, jumps and dives like a hyperactive jazz dancer.And all the soloists are fabulous: inventive, original, highly swinging.The jam sessions at the Metronome All-Star sessions are also very historic, with a trumpet section of Dizzy, Miles Davis and Fats Navarro, all trying to sound like Dizzy in their solos (and succeeding!), as well as scintillating piano solos by the brilliant but anti-social Lennie Tristano.All in all, an exciting and important album that no jazz lover should be without.

Great innovative jazz an' a piece of history...
This collection may seem a lil' overwhelming if you're a firsttime listener, an' its definitely too broad for a thorough straight through listen, as many'a the takes appear a few times in different incarnations.But if you a fan'a bebop an' of the early years of jazz music, then you'll more than likely eat this up.Dizzy was one'a the innovators an' had one'a the longest an' most profilic careers of all jazz legends.

With forty-three tracks total, there ain't much sense in tryin'ta list highlights, but I will say that 'A Night in Tunisia' is one'a my favorite jazz recordings ever (though I prefer Parker's version from the Dial Years to this one) and this early interpretation of 'That Old Black Magic' is priceless.All in all, there is nothing not worth a listen on here, an' the different and unfinished takes make it seem like we gettin in on a decade's worth of recording sessions.Highly recommended for the already-initiated.

Boppin!
Dizzy Gillespie's style was the nemesis of Miles Davis's. Introspection doesn't seem to have been a word often used in Diz's vocabulary, musical or otherwise. His playing did have a 'dizzying' effect always putting speed, dynamism and drama at the forefront of his performances. On this collection Gillespie's talent as a bandleader and musical arranger also come to the fore. He had of course a great theoretical knowledge of music and wasn't afraid to pass this on to other musicians by way of help and encouragement. With the big bands here he manages to register bebop lines in a larger sound and the over-all enthusiasm shows through.

Throughout this collection Gillespie never loses sight of the desire to swing despite his revolutionary tendacy to subvert traditional chord structure. 'Hot Mallets' swings like hell over great xelophone playing that also features on 'Blue Rhythm Fantasy'. The first version of '52nd Street Theme' is amazingly fluent while the second version goes in for greater improvisation. The bebop standard 'A Night In Tunisia' gets its greatest rendition here in its original form with Diz's no-holds emphatic sound. Gillespie's generosity to other musicians can be heard on 'Ol' Man Rebop' where each soloist takes his turn exercising his own bop interpretations. The most incessantly driving tracks on these CD's are the two versions of 'Anthropology' which rock like crazy. I also loved the rolling end of 'Ow!' and the swinging shout of 'Cool Breeze'. With 'Cubana Be' and 'Cubana Bop', Gillepie moves into even greater experimental territory. Each display a menancing rhythm like the growing stampede of an elephant herd backed up by Gillespie's elephant sounding shrieks on the trumpet.

More brash and emphatic playing on 'Minor Walk' and 'Lover Come Back To Me' proves to be yet another shining example of Dizzy as a great arranger. The backing brass jumps about at its own frenetic pace while Gillespie's trumpet bursts with energy and of course there's also the tight technical arrangement of the 'Overtime' tracks. The footstomping 'I'm Beboppin' Too' could be a manifesto for the whole bebop movement, while tracks like 'Jump Did La Ba' shows an early example of bop scat-singing. In contrast you have tracks that still swing (almost violently in Dizzy's case) like his interpretation of St. Louis Blues.

What always shows through in Dizzy's playing is his total enjoyment and utter euphoria, something that he shares with few other jazz players (the most notable exception being Louis Armstrong). All in all a marvellous collection for Dizzy fans. ... Read more

Asin: B000002WRX
Subjects:  1. Afro-Cuban Jazz    2. Bop    3. Jazz    4. Pop   

Carnegie Hall Jazz Concert
Average Customer Review:
Audio CD (02 November, 1999)
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Editorial Review

In jazz, live recordings not only document an artist or group's sound in its purest form but, in rare cases, herald the arrival of a musical genre. That's the case with this invaluable, two-CD collection that captures clarinetist Benny Goodman's historic 1938 Carnegie Hall concert, which exemplified the so-called "swing era." Originally released in 1950, it contains rare commentary from Goodman and music from the entire event, which was a unique mix of formality and spontaneity. Goodman's perfect intonation and lyrical improvisation front the big band here, featuring the smooth solos of trumpeter Harry James, the percussive power of Gene Krupa--jumping the blues on "Don't Be That Way"--and the Fletcher Henderson- arranged "Sometimes I'm Happy" and "One O'Clock Jump."Another segment of the evening, called "Twenty Years of Jazz," takes Goodman to New Orleans with a lickety-split reading of "Sensation Rag" and "When My Baby Smiles at Me."A spirited jam session follows with Count Basie on the keys, alto, tenor, and baritone saxophonists Johnny Hodges, Lester Young, and Harry Carney, along with trumpeter Buck Clayton. Goodman hangs tough with the crew on a rollicking read of Fats Waller's "Honeysuckle Rose." The spotlight turns to Goodman's color-line breaking small combos. His trio with Krupa and the elegant, fleet-fingered Teddy Wilson on piano delivers a harmonically delicious version of "Body & Soul" that would give Coleman Hawkins's version a run for its money. When vibraphonist Lionel Hampton gets into the mix and makes it a quartet, the standards "Avalon," "The Man I Love," and "I Got Rhythm," as well as "Stompin' at the Savoy," are transformed into timeless vehicles of improvisation. The big band returns with growling grandeur on Irving Berlin's optimistic "Blue Skies" and the British Isle balladry of "Loch Lomond," with the majestic vocals of Martha Tilton. One listen to Goodman and company's rockhouse romp on "Sing, Sing, Sing" will testify to the success of this event, which still reverberates today. --Eugene Holley Jr. ... Read more

Features

• Live

Reviews (65)

A Classic Performance - A Flawed Recording
First off, let me say that this performance is one of the most historic in the history of popular music and that we are lucky to have any record of it at all.
That being said, it's painful to note that the recording quality of this set is just awful - all the scratches, hisses and pops of the original masters have been reproduced here without even the slightest attempt to clean up the sound.
The performance itself rates 5 Stars but this recording rates a 1, if that.
Hopefully someday in the future this recording will be cleaned up and made available to the public.

Time for Charlie Christian to join Benny, and Lionel
Very wonderful and historical 2CD set.I have a SONY/Legacy/Columbia set.I only rate the 2CD set at four.
>The set rates Five for just producing the set.
For my ears, there is way too much "hiss", from the acetates, or from some scuffy 78rpms.This set should be digitally remastered, this time to 2005 audio technology.The set is still very much worth adding to your Benny Goodman library.
To complete, I could suggest that you add either VHS, or DVD of
"THE BENNY GOODMAN STORY.""Almost all 'the cats' are included,
A true-to-life rise of some poor kid from Chicago to the epitome of music, "all that Jazz", both accentuate your Benny Goodman collection."They didn't call him: GOOD, Benny blasts!
Also, the 4CD Charlie Christian box set adds mono tracks, many off-takes, and stuff that wasn't "Good Enough To Keep", (Airmail Special.
________________________________good America First items____apa!

Fantastic - A Gem!
This is an amazing piece of musical history, and a superb display of talent that doesn't and apparantly can not exsist any longer.I grew up in the 70's and 80's with a certain listening ear.I bought both the Avid selection and the Live version from Sony. By far the live version is far superior, if not only because it is just as it was that cold winter night in 1938. The Avid version is fine for selected recordings, with the hiss edited out, but not all is.
One has to remember that this amazing musicians were playing with there own breath, and hands. Nothing synthesized here, or computer generated, or amplified. When you hear Krupa's drums, Goodman's incredible range on the clarinet, James' on the Trumpet, Duke Ellington's ryhthym section, and people whistling and screaming..well you would have to be lacking something not to thoughly enjoy and appreciate this.I guess this is why they are so unique.This isn't Lawrence Welk music, or similar to reincarnations of folks today playing what they think big band swing is. ... Read more

Asin: B00002MZ2L
Subjects:  1. Big Band    2. Big Band/Swing    3. Big Bands    4. Clarinet    5. Jazz    6. Pop    7. Sweet Bands    8. Swing    9. United States of America   

The Very Best of Fats Waller [RCA]
Average Customer Review:
Audio CD (07 November, 2000)
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Reviews (3)

Thanks for smashing those thirds
If I get to heaven Fats would be one of the first people I'd look up.His music is a real joy - it always puts me in a good mood.This is one of those rare albums where every song is great!

A True American Master
This compilation is, in effect, a reissue of earlier Bluebird compilations; nevertheless, it is a fine selection of Thomas Waller. It's as good as the Time-Life LPs in presenting Waller, who is unfortunately dismissed as merely popular a pianist or quaint curiosity. There wasn't anyone writing popular lyrics in the 30s and 40s that had his gift for invention and for melody, to say nothing of the command of his playing and singing. And that certainly includes the Gershwins. Nor was there anyone as prolific--Fats tossed away pop masterpieces (or sold them to hacks for ready cash). What I love about him is the sense of whimsy and the mother wit and satire in the face of the purely commercial aspects of Tin Pan Alley and American racism of his time. He inverts the crass nonsense that the label foists on him and makes it his own with the irony that comes from genius beset by idiocy and the joy that comes from genius celebrating its gifts. This compilation of Bluebird material is representative, and it's a worthy introduction to one of America's musical geniuses. Despite Ken Burns' virtual dismissal, you can't get away from Fats. Just listen to Prairie Home Companion. Better yet, listen to this CD. Go find some others. Read Eudora Welty's short story called "Powerhouse." Then hear Pops play Fats.

*Fats, Bright & Brilliant*
Fats Waller was a brilliant stride pianist, fun singer, and all around great entertainer. This nicely-priced disc features a great selection of colorful, lively tunes with excellent sound quality.The recording dates range from 1929 to 1943.

The music of Fats combines astounding jazz virtuosity with a fun, swingin' mood that even the musically illiterate can enjoy.Just check out the jam-session version of Honeysuckle Rose and then the solo piano version of the same tune to witness the breadth of the man's talent. Waller was a great composer as well, and the first eleven tunes featured were either authored or co-authored by Fats. Some great jazz names show up throughout the course of the disc, including Benny Carter, Slam Stewart, Bunny Berigan, and Tommy Dorsey, and the performances within never result in anything short of pure aural joy.We are also treated to four solo pieces by Fats, played with such richness and exuberance that his piano sounds like an entire band.Not only is this a collection of important music by a true jazz giant, it also makes a great soundtrack for your hipper shindigs.Check it out. ... Read more

Asin: B000050G8C
Sales Rank: 43017
Subjects:  1. Classic Jazz    2. Jazz    3. Jive    4. Pop    5. Stride    6. Swing   

Bix Beiderbecke, Vol. 1: Singin' the Blues
Average Customer Review:
Audio CD (05 January, 1990)
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Editorial Review

In jazz's childhood, Bix Beiderbecke was the only cornet player to rival Satchmo in terms of influence on other musicians and on the development of the genre. Armstrong's syncopated delivery, his blues shadings, his unique phrasing--in short, his swing--became, rightly so, the benchmark, the standard by which jazz improvisation was not only judged, but actually defined. In a way, Bix represented both a practical and symbolic alternative to Armstrong. Though he was completely self-taught and couldn't read music, Bix's tone was incredibly pure, full, and lush, and his style was cooler, more restrained (but not reserved), and more plaintive than Louis's hot, ebullient playing--even though his actual tone remained bright and his note choices forceful. All of these 20 cuts come from 1927, and many of them rank among the finest performances of that classic era nudged between Dixieland and swing. A key component of these successes is Frankie Trumbauer, a remarkably fluent and lyrical C-melody sax player who was Beiderbecke's close friend and musical kindred spirit. The septet cuts from February and May are uniformly excellent, but "Singin' the Blues" (featuring Eddie Lang's prominent single-string guitar support), "Riverboat Shuffle," "I'm Comin' Virginia," and "Way Down Yonder in New Orleans" are astonishing landmarks in jazz history. Also worth noting are two trio cuts featuring Beiderbecke on piano supporting Trumbauer and Lang, and "In a Mist (Bixology)," a Bix piano solo full of bold, unorthodox melodies, harmonies, and rhythms. --Marc Greilsamer ... Read more

Reviews (5)

Epitomizes Easy Listening
I've had this CD for a couple years now.I never tire of it.No matter what the circumstances of my life, I can't help but smile when I play this CD.If I'm feeling down Bix lifts me up.If I feeling good Bix helps me celebrate.I can think of no better recommendation.

GREAT INTRODUCTION TO BEIDERBECKE
This collection along with Vol 2, represents the cream of the crop of Beiderbecke's recording output and are an excellent introduction to him.They feature Beiderbecke along with a few other key personnel (Frankie Trumbauer, Adrian Rollini, etc.) and are amoung the best small group jazz recordings of the 1920's.Although Beiderbecke made several fine recordings with other groups such as Paul Whiteman, it is the small group recordings in these volumes that Beiderbecke is famous for.

Ahead Of His Time
Beiderbecke and Armstrong were the two giants of the horn in the '20s. Bix died too soon to have any great influence on other hornmen, but his music would live on in the "cool school" and "west coast" jazz of the '50s. His use of the whole tone scale, 9th and 13th notes and other improvisational skills would become part of the jazz scene in later years. This CD is a compilation of some of his greatest work. Singin the Blues and I'm Comin' Virginia are the first two jazz ballads recorded. ... Read more

Asin: B0000026WV
Subjects:  1. Classic Jazz    2. Jazz    3. New Orleans Jazz    4. Pop    5. United States of America   

Genius of Modern Music, Vol. 2
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Audio CD (31 July, 2001)
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Editorial Review

If Genius Volume One in this series stands out for repertoire, volume 2 shines for the better ensemble performances. The challenges of "Four in One" and "Criss-Cross," for instance, inspire vibraphonist Milt Jackson to slithery heights, and Thelonious Monk's architectonic comping sparks altoist Sahib Shihab and trumpeter Kenny Dorham to exploratory heights. One of the first recorded jazz waltzes, "Carolina Moon," reveals Monk's penchant for reviving obscure standards on his own irreverent terms, while the unaccompanied "I'll Follow You" allows us to peak at the pianist-composer thinking out loud. No serious jazz collection should be without a sampling from Monk's Blue Note output, and this is as good a place to start as any. --Jed Distler. ... Read more

Features

• Original recording remastered

Reviews (6)

2 Bands. 2 sets. Pure Monk.
Tracks 1 - 9: Thelonious Monk - piano, Sahib Shihab - alto sax, Milt Jackson - vibes, Al McKibbon - bass, Art Blakey - drums. Recorded on 7/23/51.

Tracks 10 - 18: Thelonious Monk - piano, Kenny Dorham - trumpet, Lou Donaldson - alto sax, Lucky Thompson - tenor sax, Nelson Boyd - bass, Max Roach - drums. Recorded on 5/30/52.

This is one of the great documents of Thelonious Monk's unique (and totally engaging) style and vision. I almost considered giving this 4 stars for no other reason than I know that the Rouse band is probably more popular/familiar for most people, but I just couldn't. This is five stars all the way.

Actually, seeing a previous review (after writing mine) has made me slip this note in here and drop it down to 4. I don't have that '48 session! That IS a good question... if it can fit on here, why isn't it on here? Although, for what IS here, it's still a 5-star disc.

I wonder whether this review will be mainly read by longtime Monk fans, or by people who are new to him. For those of you who know his stuff... everything that is Monk... it's all here. This is a fantastic disc! For those of you who are new to him but have other jazz discs... you're in for a treat. No one elses music moves like Monk's moves. It's almost unfair to even lump him in as "jazz". He is a genre unto himself. Everything about him stands alone. Once you get acquainted with his music, his rhythms, melodies (of his tunes), and piano playing will be instantly recognizable to you because, like I said... his music has its own distinct sense of movement.

That off-kilter sense of bouncy, swinging thrust that Dolphy's music has... it's due in part to his fascination with our man right here, Monk.

I love this disc, and the fact that it's by 2 different bands is really nice. You get to hear that Monk Vision as filtered through the lenses of 2 distinct bands. As for which band I prefer, it just depends on my mood. Both bands have it! As for this disc, you should have it!

Not to be Missed
Monk on Blue Note with superb supporting musicians playing many of his best known compositions. Can't go wrong here. My favorite tracks are on the first half of the CD featuring Milt Jackson. Check out Willlow Weep For Me and you will be instantly hooked. Monk's music has a vibrancy that is really captured in these recordings and for either the uninitiated or hard core Monkophiles this is a must own CD. Of all the guys who came out of the Bebop scene Monk's music stands out as the music that remains as fresh and challenging as anything being done today. Do yourself a favor and check this out.

ESSENTIAL MODERN JAZZ; BUT NOT ESSENTIAL PRESENTATION
Since I first heard them, Thelonious Monk's Blue Note recordings have captivated me like no other jazz recordings. They are simply the best work by a genius modern composer. While numerous pictures of Monk exist in which he wears the boppers uniform of beret, horn rim glasses and pin stripe suit ( the photo of monk, roy eldridge and howard mcghee-taken in front of Minton's comes to mind) it's a mistake to think of monk as just another exponent of the Bebop school. He is something much more than that-a unique individual in his music, rendering something much more deeply personal...you will hear that in this stellar music. If you like individuality, uniqueness, playfulness and adventure in your jazz, then this is for you. You won't be disappointed.
My only quibble with this set is that there is simply no reason not to include the July 2, 1948 session either at the beginning of this set or at the end of "Genius of modern music, Volume 1." That brilliant session included such classics as "Evidence," "Misterioso", "Epistrophy" and "I mean You," all of which are essential blue note monk tunes. Why aren't they on either of these volumes? There are no time constraints. There's simply no good reason.
But be that as it may, this is still desert island modern jazz. And you can pick up that missing brilliant session on either "The best of monk on blue note" or the french CD "Thelonious Monk 1947-1948," ; Classics CD 1118. In whatever form you find it, don't miss this superb music.
And, "I mean you." ... Read more

Asin: B00005MIZ5
Subjects:  1. Bop    2. Jazz    3. Pop   

The Black Saint & The Sinner Lady
Average Customer Review:
Audio CD (07 November, 1995)
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Editorial Review

This 1963 recording occupies a special place in Mingus's work, his most brilliantly realized extended composition. The six-part suite is a broad canvas for the bassist's tumultuous passions, ranging from islands of serenity for solo guitar and piano to waves of contrapuntal conflict and accelerating rhythms that pull the listener into the musical psychodrama. It seems to mingle and transform both the heights and clichés of jazz orchestration, from Mingus's master, Duke Ellington, to film noir soundtracks.The result is a masterpiece of sounds and textures, from the astonishing vocal effects of the plunger-muted trumpets and trombone (seeming to speak messages just beyond the range of understanding) to the soaring romantic alto of Charlie Mariano. Boiling beneath it all are the teeming, congested rhythms of Mingus and drummer Dannie Richmond and the deep morass of tuba and baritone saxophone. This is one of the greatest works in jazz composition, and it's remarkable that Mingus dredged this much emotional power from a group of just 11 musicians. --Stuart Broomer ... Read more

Reviews (35)

Oh Yeah!
This album is one of the best albums I have of Charles Mingus. I could also say one of the best of all cd's. This is not a good album for a starter of Mingus. Unless he likes out,crazy,amazing,mind blowing, cd's. If your starting to like Mingus you should start with Ah Uhm(everyone says to start with that one). It is good. Really good. Surely if your starting to like Mingus(I dont have it,because I like out,crazy,etc. cd's.)

Anyhow about the cd it's truley amazing. Surely changes your mind set. Also take you out of this world. Trust me, it's worth every penny. Charles Mariano is amazing on alto. Mr.Richardson is great on baritone and saprano. My point is that every thing about this album is truley amazing.

Oh Yeah!
This album is one of the best albums I have of Charles Mingus. I could also say one of the best of all cd's. This is not a good album for a starter of Mingus. Unless he likes out,crazy,amazing,mind blowing, cd's. If your starting to like Mingus you should start with Ah Uhm(everyone says to start with that one). It is good. Really good. Surely if your starting to like Mingus(I dont have it,because I like out,crazy,etc. cd's.)
Anyhow about the cd it's truley amazing. Surely changes your mind set. Also take you out of this world. Trust me, it's worth every penny. Charles Mariano is amazing on alto. Mr.Richardson is great on baritone and saprano. My point is that every thing about this album is truley amazing.

THE BLACK SAINT
from the liner notes:

'I feel no need to explain any further the music herewith other than to say throw all other records of mine away...

..this is the first time the company i have recorded with set out to help me give you, my audience, a clear picture of my musical ideas..'

- Charles Mingus

This is Mingus exactly how he wanted you to hear him.
How can you argue with that?

Buy it! It's brilliant! ... Read more

Asin: B000003N81
Subjects:  1. Jazz    2. Pop   

The Tatum Group Masterpieces, Vol. 8
Average Customer Review:
Audio CD (01 July, 1991)
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Reviews (16)

better for tatum fans
Yes, Art was virtually unrivalled as a soloist, but lacking as an accompanist; and Ben was virtually unrivalled in expressive tone on ballads & not bad at sassy blues-based pre-bop swing. This pairing (Ben claimed it was his favorite of his recordings) does have its moments, but would be more satisfying for fans of Art Tatum, who seemed to forget the value of musical rests & pregnant pauses in this session - too much caffeine? - and Ben seems reluctant to play any faster than ballad tempo. Still, it's fine playing & worth a listen.

Something's out of synch on Tatum Group Masterpieces!
On Volumes 1, 2, 3, 4, 6 and 7, the songs do not match!Vol. 8 is the only one in the series where what you hear is the right tune.

It matters, so please correct. Incidentally, what happened to Vol. 5?

One star!!
Bryan's brilliant one star review made my day.
I'm prepared to accept that Tatum was not the greatest player in a group setting, hence I have knocked off a star.
I watched an interview between Andre Previn and Oscar Peterson where they discussed Tatum at length. Peterson pointed out that there is much more going on with Tatum than just technique.
Yes he's playing scales and arpeggios, but there is also amazing harmonic and rhythmic thought going on as well.
I'd be interested to know what players Bryan listens to that don't play scales and arpeggios. Most modern players areplaying scales and arpeggios. The scales used are 'modes'.
By the way I have nothing against 'modern' players, having a large CD collection that spans the entire history of Jazz. ... Read more

Asin: B000000XN9
Sales Rank: 35263
Subjects:  1. Free Improvisation    2. Jazz    3. Pop    4. Post-Bop   

Saxophone Colossus
Average Customer Review:
Audio CD (01 July, 1991)
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Editorial Review

Though he lacked the improvisational fire of John Coltrane and the restless curiosity of Miles Davis, Sonny Rollins played with a rich, round tone that complimented his melodic inclinations, making him the most accessible of the post-bop musicians. Saxophone Colossus is the most successful of the late '50s albums that made his reputation. Rollins' playing never falters; he's backed by the redoubtable Max Roach on drums, Tommy Flannagan on piano, and Doug Watkins on bass. Rollins is equally at home with the lilting Caribbean air of "St. Thomas," standards ("You Don't Know What Love Is"), blues ("Strode Rode," featuring a driving Tommy Flannagan solo), and a smoldering version of Brecht-Weill's "Moritat" (better known as "Mac the Knife"). If you are new to jazz, there is no better place to start than Saxophone Colossus. --Steven Mirkin ... Read more

Reviews (68)

Some people may want to watch they say..
This is truly proof that hype will make someone like a certain thing just because. To me this is simply a poor record, for Sonny Rolling and Max Roach and jazz in general. When people through out blanket statements like "Milestone in Jazz" or "One of the best album in Jazz". No one can say those statements without heary EVERY single jazz record every recorded. That would probly be impossible. There is nothing out of the ordinary here and they all sound un-ispired and the sound isen't so good for jazz lp's of the time. If you want some great rollins get "The Bridge", among many others. This is one they will get dusty on the shelf.

One of the greatest albums in jazz
Though, in my opinion, this is not Sonny's greatest recording, it is perhaps his most influencial and definatly his greatest herald, listed often as one of the 10 greatest albums of jazz. I've read some reviews claiming that other sax players far surpass Sonny's skill, names like Stan Getz and Trane. However, once you listen to this album you'll see why Sonny is called by almost all music critics as the greatest improviser on any instrument in any style of all time, he was actually voted almost unanimously to this title by Down Beat, Jazziz, and Jazz Times in the 90s, as well as perhaps jazz's greatest virtuoso. Not simply for his raw technical ability or immense understanding of harmony and melody, but his flawless ability to make even the most dense and esoteric music seem ever so familiar and listenable in any context. Blue 7 is a monumental example of Sonny's skill, many people don't know that the 'melody' is completly improvised, and though it may not seem, it is a forward look at just how far Sonny will play outside the changes. This is a great starting point for those who want to here the master of melodic improvisation and I highly recommend listening to The Bridge and On Impulse after this record as well.

A Saxophone Colossus
This appropriately titled classic hard bop session from the summer of 1956, was not no ordinary hard bop session. This was a masterpiece by one of the most brilliant minded saxophonists in jazz.

The genius hadrecorded his seminal classic album, Tenor Madness, which is over-shadowed by this one, within the same couple of months, and Sonny was at the top of his game; until he quit for a time four years later.

This album begins with one of the most famous and memorable jazz melodies ever. The song which later became Sonny's theme song, St. Thomas, which has been covered by many jazz artists such as Chuck Mangione and Mundell Lowe.

The song is a brilliant composition and conversation between Sonny and drummer Max Roach. The song is begun in a latin rhythm set by Roach, in which Sonny does the melody and solos some of the most beautiful stuff my ears ever heard. Max Roach then takes then next solo still in the latin feel, then he sets the next groove by turning his snare on and begins to swing his solo until the whole rhythm section comes in for Sonny to express more of himself. Tommy Flanagan gets the next solo until Sonny goes back to the melody, (still swinging) for one verse, until Max sets the group back in the latin feel first demonstrated in the early minutes of the piece. This song is a classic.

The only ballad here, You Don't Know What Love Is, is taken beautifully here. Strode Rode, an up-tempo piece swings heavily. The last bars of Flanagan's solo leading up to Sonny and Max's interchaning solos is haunting. Once the two do exchange solos, it is brilliant to listen to. Roach's never ending ideas with Sonny's unique play of the notes make Strode Rode a very enjoyable listen.

The tune with the more popular title of Mack The Knife, (usually done by singer Bobby Darin) is in a more jazz setting here. And the masterpiece ends with Sonny's extraudinary composition, Blue seven. One highlight is Doug Watkins' bass line. Other highlights include Max's numerous drum solos.

This album opened the door for many young players. It also gave Sonny the recognition he needed to be one of the most influential saxophonists in jazz. This is the first period of the genious of Sonny Rollins.

Saxophone Colossus, a fine and brilliant musical journey from start to finish, that gets better with every proceeding listen. ... Read more

Asin: B000000YG5
Subjects:  1. Jazz    2. Pop   

Body & Soul
Average Customer Review:
Audio CD (21 May, 1996)
list price: $11.98 -- our price: $11.98
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Editorial Review

This CD compiles several Coleman Hawkins sessions recorded between 1939 and 1956, capturing the masterful tenor saxophonist at the height of the swing era, in the midst of the bop revolution, and at the helm of large orchestras. While the quality of his accompaniments varies tremendously, Hawkins's contributions don't. The earliest session climaxes with his classic solo version of "Body and Soul," a landmark in both the harmonic language of jazz and improvised musical architecture. Another four tracks come from a 1940 octet date with some of Hawkins's old associates from the Fletcher Henderson band, Benny Carter (on trumpet here) and J.C. Higginbotham on trombone, along with the underrated clarinetist Danny Polo. It's small-group swing of the first order, with touches of traditional jazz in the improvised ensembles.

Tadd Dameron wrote the arrangements for a 1947 band that includes trumpeter Fats Navarro, trombonist J.J. Johnson, pianist Hank Jones, and drummer Max Roach. While the horns all solo fluently on Dameron's "Half Step Down, Please," it's the three ballad features for the leader that stand out, Hawkins drawing inspiration from Dameron's moodily dense harmonies. The settings are pedestrian at best for a series of 1956 recordings, with Billy Byers and Manny Albam writing arrangements. Hawkins bristles with individuality, whether soaring over a substantial big band on "The Bean Stalks Again," cutting a new path through a cluttered "Body and Soul," or counterposing his ruggedly magisterial horn to still fussier arrangements of "I Love Paris" and "Under Paris Skies." --Stuart Broomer ... Read more

Reviews (4)

Stark Raving Mad - The Life and Music Of The Hawk
Coleman Hawkins is not just one of jazz's best musicians but one of america's. Indeed he has many claims to fame - Practically bringing the Tenor to the public, and possibly inspiring the be-bop with his (at the time) extemely free and at times lengthy solo's. It would take a very long time to list the musicians who were under his influence (Sonny Rollins, Dexter Gordon, Ben Webster, Charlie Rouse to name a few). The sets compiled on this cd, sound terrific. I have never heard music from 1939-1949 sound so great. Even though this disc ranges from 1939-1956 it flows extremly well together. Hawk dosen't change his style as much as the muscians around him do. Early on this set has a very 1/2, Train/March sound to the rhythm. Then be-bop hits, and Fats Navarro and Max Roach are with him, even Hawk adjusts for these sessions to a certian extent. The last sessions are are Hawk with Strings, are excellent. There is always a debate as to who is the classic king of the tenor? Coleman Hawkins or Lester Young, it is impossible to say, they both deserve the title.Also check out the extremly fun "Duke Ellington Meets Coleman Hawkins" for more hawk.

Not enough Hawk
Referring to the 19 track RCA incarnation of this title:

This is 5 star material, as is most Coleman Hawkins. He is presented with half a dozen all-star orchestra and small groups recorded between 1939 and 1956. A swell way for the unintiated to get aquainted with the Mother of all (tenor) sax players. To hear the Hawk is to hear them all: you'll find shades of every tenor from Adderly to Rollins. The selections are carefully chosen for artistic merit and variety. The sound quality is quite good, even on the older sides.

The problem is, as an overview it is too narrow. Spend the extra money to get the 2CD "Retrospective 1929-1963" which contains 40 tracks, including all those on this CD. The Hawk is too huge a jazz legend to be captured on a dozen CDs, but at least the expanded release covers a sizeable chunk of his career. If you cheap it out and buy this one, you'll love it but in retrospect you'll wish you'd gotten the 2CD version.

Everyone loves this cd
I have this cd in permanent rotation and no matter what is going on in the house at the time it comes up,everyone stops to pay attention' Who's this " is invariably asked by those who don't yet know coleman.If you know his work it gives a big smile. ... Read more

Asin: B000003G3L
Subjects:  1. Jazz    2. Pop   

Birth of the Hot
Average Customer Review:
Audio CD (29 August, 1995)
list price: $11.98 -- our price: $11.98
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Editorial Review

Jelly Roll Morton was at a creative peak in Chicago in 1926 and '27, surrounded by first-rate fellow New Orleans musicians and with plenty of opportunities to record. Many of the musicians who contributed to Louis Armstrong's Hot Five and Hot Seven recordings appear here--trombonist Kid Ory, banjoist Johnny St. Cyr, clarinetist Johnny Dodds, and his drummer brother Baby Dodds--while George Mitchell contributes sterling cornet leads. Each track is a compressed masterpiece, a jigsaw puzzle of written composition, improvised ensembles, solos and duets, often with sound effects and bantering comic patter thrown in. "Black Bottom Stomp" and "The Chant" are brilliant examples of Morton's energized fusion of contrasting elements, while the piquant "Someday Sweetheart," with its combination of violins, guitar, and Omer Simeon's bass clarinet, demonstrates Morton's inventiveness as an orchestrator. From low humor to high mimicry, Morton was an artist of ebullient spirit who brought the whole of his experience to the recording studio: the car horn of "Sidewalk Blues," the forced laughter of "Hyena Stomp," and the barnyard vocals of "Billy Goat Stomp." By contrast, the final Chicago session includes compact trio performances of "Wolverine Blues" and "Mr. Jelly Lord" by Morton and the Dodds brothers that are refined intersections of ragtime and jazz improvisation. --Stuart Broomer ... Read more

Reviews (6)

"Ain't nobody dead somebody must be dead drunk!"
"Jelly Roll" Morton's Red Hot Peppers, one of the greates jazz bands to ever assemble, recorded the song, "Dead Man Blues" in 1927 and the title quote is at the beginning with two brothers arguing if there is a New Orleans funeral or not. The funny quote is when the other brother says that he thinks somebody must be dead, and then the other guy snaps back with that hilarious quote. HA HA!

Jelly Roll was the first important composer of 1920's jazz and these are his finest recordings. They are strongly recommended to the classic jazz fan and are among my all time favorite pieces of jazz from an era which it named

One of the very best
As a new fan of jazz, I picked this up to see where it began.Jelly Roll claims to be the father of jazz and this cd will make you think he just might have been.Each of the songs are excellent, masterful and will make even the most stoic person tap their foot.All of them are great and memorable.Jelly Roll played jazz with spirit, pizazz and mastery.One song especially good was "Dr Jazz" because you get to hear him sing but all of them are great.He put his heart into his music and that shows.The sound is also very good and adds to the enjoyment.

They truly don't make music like this anymore and this cd will show you that Jelly Roll was one of the best performers of last century.If you want something original and enjoy music from the golden age, pick this up.Its the best!

This is Cool, Man, Van Cool
I have this at work all the time & is my #1 listenin' CD. I can stop people in their tracks when they here the sounds. The only complaint I have is it has a slighly uneven quality between tracks. But due to the age of the recordings (20's & early 30's), it is understandable that it is that way. Even so, I absolutely LOVE IT! ... Read more

Asin: B000002WTZ
Subjects:  1. Classic Jazz    2. Composer    3. Jazz    4. Leader    5. New Orleans Jazz    6. Pop   

Sunday at the Village Vanguard (20 Bit Mastering)
Average Customer Review:
Audio CD (27 November, 2001)
list price: $14.98 -- our price: $13.99
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Editorial Review

This live recording by the Bill Evans Trio at the Village Vanguard on June 25, 1961, marked the end of one of the most sublime instrumental combinations in jazz history when bassist Scott LaFaro died in a car accident 10 days later. This unit is underdocumented because Evans, a notorious perfectionist, was reluctant to record. The interchange between Evans on piano, LaFaro on bass, and Paul Motian on drums is balletic in its balance of emotional beauty and technical precision. Multiple takes of "Gloria's Step," "Alice in Wonderland," "All of You," and "Jade Visions" show how the invention these players brought to each performance makes repeated material sound like movements in a suite. --John Swenson ... Read more

Features

• Original recording remastered

Reviews (18)

Oh My Goodness!
Recorded on 6/25/61, Bill Evans, Scott LaFaro and Paul Motian were one of the defining jazz trios of all time, and this is a fantastic album.

Right away you're seeing 4 stars and wondering why... especially if you've heard this one before. For me it comes down to one thing: the bass solos. I'm just not a huge fan of them here. LaFaro was an incredible bass player! I just think his best moments occur when everyone else is also playing. The way he and Bill counter each other is a thing of indescribable beauty. It's not even that the bass solos are "bad", it's just that when the entire trio is playing together I don't want it to stop. Everything moves and flows and undulates so wonderfully (as a trio) that it is a let-down when in every tune there comes 2 or 2.5 minutes of bass soloing which isn't nearly as interesting as when the whole trio was playing together.

That is the whole thing for me. The quality of this recording is so good... Bill's playing is gorgeous... Motian is right there for all of it... LaFaro's basslines are so interactive, just weaving life in and around everything the other two are playing... I just don't want that to stop. So when it does, it's a lull for a couple minutes, then they all get back down to business.

Don't even begin to consider skipping over this disc, though! This was an incredible band and every tune here is a winner. The performances are even better than the tunes! This is an essential purchase.

A mellow jazz masterpiece
The first thing I noticed as I listened to this record for the first time was the incredible bass work by Scott LaFaro. His death was most unfortunate, but this recording definitely keeps his spirit alive. I was very intrigued, as he is for the most part the main instrument on this album, and he seems to be playing as if he knew it was his final performance.

The rest of the band performs wonderfully. Evans is a remarkable bebop pianist, having the ability to swing at times and carry out whimsical intertwining piano lines at other times, i.e. the intro to Alice in Wonderland. Drummer Paul Motian has an overall gentle touch throughout the entire album, using brushes a lot of the time, but also occasionally nears the point of attacking his drums during brief fills in songs such as the great verson of Miles Davis' "Solar."

Another thing I loved about the album was the sound. It has a great, tight club sound, and you can't even really tell that its live until you hear the light claps at the end. The instruments aren't mixed in extreme stereo (like all instruments to the extreme left or right speaker), which is very nice when listening to it in headphones.

All in all, there is not a bad song here. Don't let the multiple takes of most songs hinder your decision in buying this CD, as the trio is simply amazing at using improvisation to make each take totally unique. The album is great for both careful listening and background for conversation, which is what I think really defines an album as remarkable.

oh my god!!!
first, like another reviewer, i have owned this set of tunes on lp, cassette, and cd, and spent many hundreds of hours listening to it.trying to absorb all it has to offer.second, UNLIKE a different reviewer, i have always considered Scott LaFaro to be one of the most lyrical bass soloists of all time.as a bassist myself, he has long been my hero.however, what i would like to add is my feeling that the BEST thing about these sessions (and the others recorded on these dates) is the nearly psychic interaction between all three of the musicians.this is absolutely what a piano trio was meant to be.for after all, music does not happen in a vacuum.it is an exchange among players and listeners; even long after the music has been recorded, those listening to it are continuing its lifeforce. ... Read more

Asin: B00005QY2Q
Subjects:  1. Jazz    2. Pop